Cinema Ali Afshar wrote in Etemad newspaper: How much did you read his books? How much have you been with him? How much have you followed his criticism of his films? How much have you learned from him and you loved the cinema with him? How much have you learned from Shahpour Great? You thought to yourself why he was a Sunni and an older experience than you, getting up in front of you? How much have you learned to respect him and his companions?
Can it be believed that such a person who flows with his heart and his work is gone?
Shahpour Khan had written cinema just days before his love. A few hours ago he had told how much reading book is important to the filmmaker and the cinema audience, and how much deepening can be for a community that lives in a brief society.
I wish one day we would throw away all the wrong behaviors against the critics and critics of the film and write and speak in their praise. They, in the word and the word, with beautiful interpretations and enlightened interpretations and subjectivity interpretations, were able to enjoy the film, to deepen and engage with the mysterious nature of the cinema, and how many filmmakers who wrote the same critics, love They were made and made a movie….
The pleasant pages of a cinematic life you make, love with the best memories of your life, frames, moments, writings and interpretations. This is how Parviz Duaei depicted Massoud Kimii, who later brought Bahram Beyzaie’s face on the canvas, and what love Hamid Reza Sadr stood in a trunk of Ali Hatami, and Iraj Karimi did that Abbas Kiarostami And what Massoud Mehrabi and Jamal Omid with their historians or Zawan Ghukasian with those swallowing books They … in those days when Mr. Tusi defined Nasser Tahavai in a form of form, and Mr. Golmakani had begun his artistic discoveries with “Yesterday’s film”.
This is the point that “critics of the film are the valuable assets of Iranian cinema.” My task is, of course, with the film’s critics, and I love to clarify the task for you too!
I loved Alireza Wazel Shamrani, Houshang Hesami, Iraj Saberi, Abolhassan Alavi Tabatabai, Mohsen Seif and Jamshid Arjmand. I have a family relationship with Parviz Nouri and Mansour Maleki was our Persian teacher. Mr Javad Tusi, who has a special place in my heart and I still learn from Majid Islami and Saeed Aghiqi. I love Mr. Frosty when he likes a movie. Once upon a time because of the columns of Khosrow Dehghan, I was buying a regular weekly. Just because of the same column!
I am proud of Nima Hosni Nasib for her impact and streamline, and her presence is always proud to me. I have the same look at Reza, who wish I would write more and talk about the films, because his weight and these Nazanin people are not irrelevant, and their Witren is the same as their works and streams. I remember Amir Qaderi and Nima, when they were together, for Iranian cinema. Now they are lovely.
From the reports of the films, Arash Khoshkhoo and Mansour Zabatian and Shahin Amin and Mr. Mirirani along with Ramin Heidari Farouki, one of Masoud Bahari’s workshops in the magazine, Ramtin Shahbazi and Sahar Asr Azar. From Behzad Rahimian Magazine, Jahanbakhsh Nourai, Kambiz Kemeh Classy to Antonia Partners and Naghmeh Samini, Mr. Peaceful and Amir Pouria. The world of video under the shadow of Ali’s lovely love teacher all of us. From the Cinema Weekly, Hamid Nematollah, Ali Alaei, unique, Saeed Mastaghati and later Reza Darmishian. Ali Colonel of Abrar and Hope Rouhani and Cinema of “The World of Speech” and of course “Adineh”, Ali Shidfar and Shadmehr Rastin in Hamshahri, Azizullah Hajim Mashhadi of Youth, Jabar Azin, Jafar Goodarzi, Mohammad Soleimani (Hussam Malekara) . Ibrahim Nabavi, Massoud Oohadi, Abolhassan Davoodi and Kikavus Ziairi from Soroush … Mahmoud Gabrloo, Jalil Akbari, Bijan Ashtari and Akbar Nabavi and Omid Najwan and Massoud Bakhshi who later with Mr. Shemirani, Nasrin Moghaddam and Minoo Khani Afshin Sarfaraz and Alireza Akhlaqi, Dr. Hadi Karimi and later Mohammad Taghi Fahim. The Islamic Republic with Shahab Shahrzad and Rahmat Amini. Young newspaper with Mustafa Mahmoudi, Keyvan Kathirian and Vahid Saeedi. Hello with Mehrdad Farid and Mohammad Hossein Asayesh and Nasser Saffarian and Hossein Soltan Mohammadi. From Mr. Samadi Moghaddam’s culture and cinema with Saeed Morouti, Mohammad Reza Fahmizi, Alireza Mahdi, Saeed Ghotbizadeh, Parisa Sassani, Hamid Omidi Sarvar and Maziar Fakhshd.
Later, Mehr Weekly with Hussein Mozizinia and his companions and later his magazine team and of course the Bagar Magazine Team “Cinema and Literature” formed all our cinematic memories.
I write from Mina Akbari, Amir Hossein Rasael and Alireza Mahmoudi, who is unique, and Saeed Marwati, both of which have served in the history of cinema literature. I say to the news, Mohammad Rasul Sadeghi, Zahra Haj Mohammadi and Ilya Mohammadi, and especially Mr. Sadeghi, who became the source of the emergence of the first Iranian cinema newspaper (Bonnie Film) or the generation of blogs Khosro Naqibi and Khodayar Qaqani, the newer generation than Shahin Shajari. From Mohsen Jafari Rad to Mehdi Timur and… to the altar of Tavakoli. I bring Amir Majid al -Majid into parentheses, which has a correct and proper effect, and a strange journal left for him.
I went back to say that the hard work of all the elders and friends had affected the subconscious of different generations. If I write my life and life for Iranian cinema, it is his lasting work and does not need to definition me or Saeed Marwati from the film’s sponsor to 2 or Keyvan wherever he was, (from Soroush to filmmaker and then artistic). Transformation or Vahid Saeedi and his team with their first -class journalistic work … is as much as one of them.
All this name is to say, “We were a lot!” And I shake my heart and regret, “Why do some of us, some of these, do not accept each other?” And they probably come here and comment, “Why did you put my name next to it!” Like brothers who look united from the outside and do not see each other in the family (not punching and kicking their father, Salat!)!)
Sometimes stereotypical sentences are also used. For example, “How happy we are that our cinema has great critics and writers along with its celebrities and technicians.”
And I would like to write, “What sad or” Dark “that no one can put many of these people together.”
Instead of the final titles: “Remember the great Shahpur, we have been thrilled by his departure, though he is and will remain for cinema lovers.”